The Koreatown Oddity: ISTHISFORREAL? Album Release


For everything his meticulous reluctance, the present eventually found the Koreatown Oddity. A senior from Los Angeles ‘scuzzier hip-hop forts, the multi-hyphenate composer expended the 2010s contrasting between esoteric music data and jittery defeat recording, normally occuring in an elastomers wolf covering. Pursuing the 2019 death of producer Ras Ghosh, KTO lost its groovy hallmarks for Little Dominique Nosebleed, a jagged narrative focused on a career of children car accidents. At twice wistful, others free-associative, Nosebleed’s whipsawing chronology transformed the focus on an emcee who’d long overlooked it.

The follow-up, ISTHISFORREAL?, is an exchange of notes, somebody in talk about the jobs of art-rap forerunners. Quelle Chris, Open Mike Eagle, and R. A. P. Schaefer. Nine years into his video job, KTO has become set in an episode of brain outcasts in their thirties and forties, loosely based in Brooklyn and L. A. But even more firmly rooted digitally. Like Eagle’s Anime, Trauma and Divorce and Quest and Jean-Grae’s Everything’s Fine, ISIS and ISHIFORREAL? Enters current events angle, screening them through the distorting reverb of a funny actor, late-night wire, and haircut conversations.

The album’s theme is gloomy and eerie. On “History Tension” the acoustic universes of heartbreak and police violence is compacted into a frank analysis, intraabdominal stop: “The tension of history’s attacking.” He provokes anxiety as a surviving, inhaling, yet ISHISFORREAL? Is cartoonish by any doubt. Over the pizzicato prob of “Endless Run” KTO croons with rigidness reaching spoken-word: “What is the signal/For niggas to know/What direction does gon Go ‘Go’ go?” He reverses the investigation for the debacle “Indifferent.” “Am I indifferent or desensitized?” he sings. “No grass is greener/It all gets fertilized.”

KTO prefers a tighter “, nearly physical distribution, but he’s seldom constrained by the restrictions of communication.” Misophonia Love ” (misophonia: a condition characterized by response to repetition and smooth noise, as inhaling, gnawing and gnawing, Click on “Save button”, and so on.) combines ASMR lyrics with joey swing-style 808 percussion as KTO’s writer romanticizes the function of gnawing almonds and scratching and workout underwear. In the first song, His accurate phrasing creates the song’s headline noise like” Me so funny love. “On the second, the origin is moved subtly:” Me so phony in love. “Even the more jokey scenes are rich with nuance.

Like a De La Soul endeavor, ISHISFORREAL? Movements on an operating talk-show idea without being quite perpetrated to the slightly. Rather, KTO delivers a breadth of features to fit the records ‘spacious themes. “Existential Landlord” drifts into noise-pop land; “Homeboys in Outerspace” and “Hellloooo???” delve into full sci-fi. But the title track features as a lynchpin, returning to Nosebleed’s voice of interspersing gravitas. After a little of that whimsical editorializing ( “When do y ‘all think of Karen, it’s a racist white bitchy/When I think of Karen, it’s an auntie we miss”), KTO reflects kindness and it matters, during the month of July 2019, his newborn daughter temporarily dominated the same corporeal jet as his buddy Ras G. The music carries with a surreal mandate: “I wish I could say it was unusual/Hoping on a plane from a prom To a funeral.” In the setting of Islamabad?, anxiety is even more or less than a survival instinct.